Matches for: “guillaume” …

Guillaume, Guillaume, Guillaume…

Guillaume, Guillaume, Guillaume (The cat named Guillaume)
Visiting Chris Marker in Second Life
Katie Rose Pipkin

guillaume-SL

I never really lived in Second Life. As an artist working in digital spaces this is patently uncool. But it is true; by the time I stumbled onto the massively multiplayer simulation it was already empty, a shrinking economy and user-base spread across a vast and often-private landscape leaving the world desolate at best.

Around this time, I attended a seminar in which a subdued Jon Rafman gave us a tour of the sim, not in his eponymous Kool-Aid man avatar, but rather (if I’m remembering correctly) as a understated goth animal, perhaps some kind of dog. We were shown around a few of Rafman’s old haunts; a sex-club, a unicorn glade; all abandoned. Eventually we went to a welcome area, where there were 20-odd avatars sitting around and voice chatting. A small, diapered man was running up against the architecture repeatedly- a winged, corseted goddess-figure was talking about their kids. When we said hello (in unison, all of us) the other players were kind and welcoming, if a bit bored. Rafman seemed surprised; he told us that this was rare culturally, that the general sentiment about his art-world tour presence (and perhaps the presence of anyone new) was animosity.

Unsettled, I didn’t visit again for at least another year.

In the meantime, I was watching Sans Soleil, Chris Marker’s 1983 experimental travel documentary. I say watching, not watched, as it turned into a process; after seeing the film several times in a month, I downloaded a text file of the script and read it like a charm, in pieces, whenever I needed to write or to think in elegance. It is still open, autosaved as Unsaved Pages Document 20. I was surprised it should be so important to me; the work is disarmingly sincere, almost saccharine at times.

He writes; “I’m writing you all this from another world, a world of appearances. In a way the two worlds communicate with each other. Memory is to one what history is to the other: an impossibility.”

 

Katie Rose Pipkin, “Guillaume, Guillaume, Guillaume (The cat named Guillaume): Visiting Chris Marker in Second Life”, medium.com/@katierosepipkin/ Go to Medium to read the full text, merely excerpted above…

MIT List Visual Arts Center Presents Chris Marker: Guillaume-en-Égypte

PRESS RELEASE | Contact: Mark Linga, Public Relations Officer, 617-452-3586 mlinga [at] mit.edu

Hayden, Reference, Bakalar Galleries
October 18, 2013-January 5, 2014

guillaume-en-egypte-MIT-exhibitSeptember 2013 (Cambridge, MA)—The MIT List Visual Arts Center presents Chris Marker: Guillaume-en-Égypte, a survey exhibition of the work of renowned filmmaker and artist Chris Marker (1921-2012). The exhibition is presented concurrently at the MIT List Visual Arts Center (October 18, 2013-January 5, 2014) and the Carpenter Center for the Visual Arts at Harvard University (October 18, 2013-December 22, 2013), and is accompanied by a retrospective at the Harvard Film Archive (October 17-December 9, 2013). Chris Marker: Guillaume-en-Égypte is the first comprehensive presentation of Marker’s pioneering work in text, photography, film, video, and digital media, reflecting his role as a chronicler of the second half of the 20th century through its images. The exhibition and related programming includes screenings and contributions by Agnès Varda, Duncan Campbell, and Jason Simon. Chris Marker: Guillaume-en-Égypte is organized by João Ribas.

The opening reception Thursday, October 17 will begin at the MIT List Visual Arts Center from 5:30-7:30 pm, with a film screening/talk at 6:00 pm by exhibition curator João Ribas. The reception for the exhibition will continue at the Carpenter Center from 6:30-8:00 pm, with a screening of La Jetée at 7:30 pm, introduced by Haden Guest, director of the Harvard Film Archive and curator João Ribas.

Best known for his 1962 science fiction film La Jetée, Chris Marker worked as a photographer, writer, and editor, before turning to film in the early 1950s. The exhibition at the List will include a comprehensive selection of his media work along with three of Marker’s most important photographic series: Coréennes, his black-and-white-photos of a trip to North Korea in the mid-1950s; Staring Back, photographic portraits captured during travels in Asia, South America, Scandinavia, Africa, Russia, and elsewhere from 1952 to 2006, as well as images from political demonstrations and from Marker’s own films; and Passengers, images taken between 2008 and 2010 of passengers traveling on the Paris Métro. The exhibition will also explore Marker’s critical interest in the relation between images and memory, and between documentary and fiction, through works such as Si j’avais quatre dromadaires (1966), centered on over 800 photographs Marker had taken for over a decade; Remembrances of Things to Come (2003), a portrait of photographer Denise Bellon and her images of postwar culture; and The Last Bolshevik, Marker’s tribute to the work and legacy of Russian film director Alexandr Medvedkin (1900-1989).

In the late 1960s, Marker’s interest in time-based moving image production and political engagement lead him to establish the SLON and Groupe Medvedkine collectives, whose objectives were to make films collaboratively and to encourage industrial workers to produce their own films. From the striking French workers at the Rhodiacéta factory in À bientôt, j’espère (Rhodiacéta) (1968) to Marker’s reflection on the role of imagination in public life in The Case of the Grinning Cat (2004), the various works presented in the exhibition reflect Marker’s ongoing engagement with politics.

Always an early adopter of new moving image technologies, Marker turned to the layering of images and the aesthetics of video, as well computing and digital media, in the 1970s and 1980s. The exhibition will present a comprehensive selection of Marker’s work in video spanning several decades, including television productions and his pioneering use of digital technology in the landmark CD-ROM based work, Immemory (1998), which invites readers to navigate “zones” of travel, war, cinema, and poetry, moving through photographs, film clips, music, and text. Marker’s engagement with the digital in Level Five (1996) deploys computer games, digital databases, and web interfaces as platforms for historical investigation, anticipating the ways in which new media are increasingly becoming sites of collective memory. The exhibition will also include recent work Marker produced for a variety of digital platforms, including Second Life and Youtube.

As part of the exhibition, the Carpenter Center for the Visual Arts at Harvard University will present a selection of media along with two of Marker’s most-important installation-based works: Owls at Noon Prelude: The Hollow Men, a 19-minute looped media installation inspired by T.S. Eliot’s 1925 poem “The Hollow Men” created in 2005 for the Museum of Modern Art; and Silent Movie (1994-95), Marker’s response to the one–hundredth anniversary of the invention of cinema. Originally commissioned by the Wexner Arts Center, Silent Movie evokes the memory of pre-sound cinema in an installation that investigates the intersection of personal recollection with collective nostalgia.

Support for this exhibition has been generously provided by the Institute Française and the Cultural Services of the French Embassy in the United States, The Dedalus Foundation, Icarus Films, Cultural Service of the French Consulate in Boston, Toky, the Council for the Arts at MIT, the Massachusetts Cultural Council, the Office of the Associate Provost at MIT, the MIT List Visual Arts Center Advisory Committee, and the Friends of the List. Special thanks to Peter Blum Gallery for their generous support and assistance.

[For more information on the Max Wasserman Forum on Contemporary Art events in conjunction with the MIT List exhibit, including schedule and speakers, please visit https://listart.mit.edu/wasserman_forum. –ed]

About the MIT List Visual Arts Center

In 1950 MIT established the Hayden Gallery that was located in the Charles Hayden Memorial Library. The gallery served as a venue for a program of changing exhibitions. In 1985 the Hayden Gallery was renamed the List Visual Arts Center in recognition of a gift from Vera and Albert List that relocated the gallery to its current location on the ground floor of the Wiesner Building which was designed by MIT alumnus I.M. Pei (B.S. Architecture, 1940), and Partners Architects.

Over the years the MIT List Visual Arts Center has become highly respected as one of the most significant university art galleries in the country for its innovative, provocative, and scholarly exhibitions and publications. Just as MIT pushes at the frontiers of scientific inquiry, it is the mission of the List Visual Arts Center to explore challenging, intellectually inquisitive, contemporary art making in all media. In addition to presenting 4-6 exhibitions annually, the List Center presents a broad range of education programs in conjunction with its exhibition programming. The Center maintains and adds to MIT’s permanent collection of over 3,500 artworks that includes dozens of publicly sited sculptures and hundreds of paintings, prints, photographs, drawings, and sculptures located throughout MIT’s campus. The List Center is also responsible for commissioning new works for the MIT Public Art Collection through the MIT Percent-for-Art program, and organizing and administering the Student Loan Art Program, which lends over 500 works of art annually to MIT undergraduate and graduate students.

Gallery Hours: Tues-Wed: 12-6PM; Thurs: 12-8PM; Fri-Sun: 12-6PM; closed Mondays and major holidays.

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Additional Information: 617.253.4680 or https://listart.mit.edu

All exhibitions at the MIT List Visual Arts Center are free and open to the public.

Guillaume’s Conclusion

I had always been convinced that in my small essays, the untold part was more meaningful…”
Chris Marker, Passengers

IMAGINE. Chris Marker’s enigmatic video of August 24, 2011, the day of Steve Jobs’ resignation, sent to some friends and associates without comment, in an email entitled “Guillaume’s Conclusion.”

Wikileaks Dit Tout Sur Guillaume

GEE-NObs

This portent of breaking news came to our catmail account, a sole image bearing the title “GEE NObs.”

Les contenus exacts, des révélations sans doutes scandaleuses, sont actuellement pas disponisbles… Guillaume lui-même, tiré ici à ce qu’il paraît par les paparazzi, n’en dit rien.

Guillaume’s Adieu & the Disorder of Time

Chris Marker Copenhagen 3009

Prompted out of a kind of suspended time of my own by several emails from Christophe Payet, “journaliste pigiste,”  I found my one-d and zeroed way to the above image on poptronics’  site, and thought about the strange swirling of time, the wounds of time as they might possibly exist in the New Year within the being named Chris Marker. I wandered simultaneously upon a passage in Roberto Bolano’s 2066, which has been keeping me company late at night:

And then he spied a tremor in the sea, as if the water were sweating too, or as if it were about to boil. A barely perceptible simmer that spilled into ripples, building into waves that came to die on the beach. And then Pelletier felt dizzy and a hum of bees came from outside. And when the hum faded, a silence that was even worse fell over the house and everywhere around. And Pelletier shouted Norton’s name and called to her, but no one answered his calls, as if the silence had swallowed up his cries for help. And then Pelletier began to weep and he watched as what was left of a statue emerged from the bottom of the metallic sea. A formless chunk of stone, gigantic, eroded by time and water, though a hand, a wrist, part of a forearm could still be made out with total clarity. And the statue came out of the sea and rose above the beach and it was horrific and at the same time very beautiful.

With the aforementioned emails came news of Guillaume’s farewell to poptronical submissions, and a kind of rumor wave of retreat or retirement rushed through the markerian emotional landscape at the speed of telepathy, dotted by these sundry asynchronous dates: 3009, the arrival of Guillaume at a ballardian drowned world in his sleek skimming time-travel merkabah vehicle; 2010 the faux-hollywood poster graphic of a kind of adieu – certainly seeming more that than an au revoir – clearly containing within it a parody of the hypertrophic apocalyptical thunderings of the as yet unseen movie 2012, combined with one interpretation, a hopeful one, of a  feline mutation to fit the times, like the origin of Batman or some other superhero, as if Guillaume’s wit and emblematic wry underminings of power in the form of collage barrage that have graced poptronics’ site were no longer enough, could no longer hold at bay another round of disappointment.

More wounds of history, more memories and more oblivion. And a rising from the ashes, a phoenix move on the part of the cat, or a vacation in time, considering… “Considering”* is a bit like the famous bon mot by André Gide when asked about the greatest French poet, his answer of course being “Victor Hugo, hélas”.  Best wishes, alas. And more dates: 2084, 2066, 4001 (the era of perfect memory). In a way, Guillaume takes off like Pacal Wotan takes off, in his spaceship-for-one. Marker may take off the way the Mayans took off, in mystery and grace and full of traces. Meanwhile, the disappearances continue: the world empties itself out, migrating in the manner of bees to an as-yet undisclosed location, a new world. There is a kind of cultural colony collapse disorder happening, as a Mandelstamian cry of “No!”  against those who would hold the suicidal oligarchy together with string and glue. 2010, alas. Happy New Year, horrific and beautiful.

For further reading:

Après l’adieu aux films (Farewell to movies, 2008), ce départ de Guillaume-en-Egypte nous condamne-t-il à un silence définitif de Chris Marker ? N’ayant jamais été bien loquace, Chris Marker a su se faire maître dans l’art du « silence éloquent ». Guillaume, son « double bavard », à son tour retiré, voilà l’humanité privée d’un précieux observateur. N’allons toutefois pas trop vite en besogne. Notre élégie précoce n’est que souffrance amoureuse. Si à la chute de Guillaume, rien ne succède, alors il y a bien quelque chose qui pour nous s’éteindra.

* Marker explains his choice of the word “Considering”: “…considering est le point d’ironie qu’on ajoute à un bilan par ailleurs catastrophique (exemple : dans “Asphalt Jungle”, Louis Calhern à Marilyn Monroe qui vient de le balancer aux flics “You did quite well, considering”) …” [poptronics]

The Nine Lives of Guillaume-en-Égypte

The French “pop lab” – extension São Paulo – poptronics has published a special “poster-journal” edition devoted to Chris Marker, or more precisely, to his omnipresent feline parallel self, Guillaume-en-Égypte, entitled guillaume-en-égypte au brésil/no brasil (numéro 11, 10/2009).

poptronics n.11Throughout, the issue uses as backgrounds photographs, devolved to duotones, that seem to tease at revealing the working space of a cinephile, librarian, collector, cat lover, scholar, artist – enfin, bricoleur. One spots statues of cats and owls, DVDs, cassettes,  books (Nuit et brouillard, Tarkovsky interviews, Fritz Lang, Tel quel) all piled to the rafters like a wonderful personal museum conspiring to both present and hide decades of accumulation, research, gifts, cultural obsessions. The media are all there, old and new, and at one point Guillaume (the circumstantial origins of whose name is revealed in the answer to question number one) admits that the “new” media, far from being overwhelming, are not moving fast enough for him. Throughout, the irony, the winks and nods of a master migrated into second life bleed through the cartoon fabric, even as this fabric grows rich with exotic dyes and grunge layouts.

This poptronics poster-journal, released around the end of a major Chris Marker exhibition in São Paolo that garnered many tweets of adoring Brazilian fans, consists of an amazing array of cartoon productions featuring Guillaume, the ultimate avatar, presented in a dizzying collage format, along with a fanciful interview, with the following introduction:

Un chat pigiste mégalo. Un chat dessiné à la main et citoyen du Net. Guillaume-en-Egypte, avec ses traits noirorange et ses bulles drôlissimes, n’est pas un chat ordinaire. Plus avant-gardiste que ses cousins Krazy Kat et autres Grinning Cat, ce félin-là nage comme un poisson dans l’eau sur le site poptronics, média français des cultures électroniques, et vole dans Second Life. Pour rendre hommage à cette star du réseau, poptronics a conçu, sur invitation de son pop’commissaire au Brésil Benjamin Seroussi, ce pop’lab exceptionnel : un magazine qui traverse l’océan, de la France au Brésil, tente l’aventure bilingue et la prouesse graphique du deux en un (affichejournal), pour fêter son incroyable vie de fiction. Tête d’affiche côté face, Guillaume lève le voile côté pile sur ses « neuf vies » (pp. 04-17/32’), se laisse conter par Annick Rivoire, fondatrice de poptronics (pp. 20- 21/32’), Etienne Sandrin, du Centre Pompidou (pp. 24- 25/32’), et Agnès de Cayeux, artiste du réseau (pp. 28-29/32’).

Here’s the conversation of the Poptronics crew with the Cat himself:

1. Guillaume-en-Egypte, tu n’as pas grand-chose d’abyssin, alors d’où vient ton nom ?

Bricoleur Chris MarkerChat trouvé, on m’avait donné un nom quelconque. Un jour, Chris teste une caméra empruntée (du genre qui permet les sous-titres « de vacances »). Le possesseur de la caméra a un enfant nommé Guillaume, il vient de l’emmener en égypte, et le sous-titre est resté incrusté. Chris cadre la seule chose intéressante dans la maison – moi – et s’écrie : « C’est ton vrai nom ! » Or C’ÉTAIT mon vrai nom. (cf. le poème bien connu de T.S. Eliot : « Tout chat a un nom secret, qu’il est seul à connaître. »)

2. As-tu plusieurs vies comme tous les chats, celle du « vrai » chat qui aidait Chris Marker à monter ses films, celle du chat faxeur qui commentait le monde tel qu’il va mal pour son cercle d’amis, celle du chat guide numérique dans le CDrom « Immemory », dans « Chats perchés » ou sur Second Life, celle du commentateur acide sur l’Internet dans « Un regard moderne » et aujourd’hui sur poptronics ?

Ça n’en fait que cinq, Il m’en reste quatre mais ce sont mes quatre vies privées.

3. Pourquoi avoir choisi l’Internet comme territoire de chasse ? Et, accessoirement, pourquoi le site poptronics (et pas un grand média généraliste) ?

Pourquoi, il y a plus chic que poptronics ?

4. Un chat pigiste, franchement, qui tu crois que ça peut mystifier ?

Lincoln disait : « Un chat peut mystifier tout le monde quelque temps, quelquesuns tout le temps, pas tout le monde tout le temps. » Il ne me connaissait pas.

5. Techniquement, tu te prends pour qui ? Tes collages font penser à l’esthétique DIY (do it yourself), presque punk (post-Bazooka), en tout cas contemporaine du home studio et des pratiques culturelles sur les réseaux (les vidéos de partage sur Youtube, les photomontages potaches, etc.). Le mélange que tu concoctes de dessins, bulles de bandes dessinées et repiquage d’images d’actualité est volontairement réalisé « à l’économie ». C’est pour maintenir ton indépendance ou par souci d’efficacité ?

Simplement pour aller plus vite. Mes neuf vies sont très remplies, vous savez.

6. Te sens-tu appartenir à une famille, celle qui aurait comme ancêtre le Grinning Cat de Lewis Caroll, comme oncle d’Amérique Felix the Cat, comme cousin oriental « le Chat du rabbin », et comme petit dernier un peu hors-la-loi M. Chat ?

Et Krazy Kat, notre grandmère à tous ? Bien sûr que nous sommes tous cousins. Même si je n’ai pas beaucoup le sens de la famille.

7. Le papier, le journal, les médias, ce sont des univers du passé pour toi ? Tu avais occupé le quotidien « Libération » en 2004 mais d’une présence silencieuse. Et voilà que dans ce pop’lab tout à ta gloire, tu donnes de ta personne. Pourquoi ?

D’abord, je n’ai rien demandé. On m’honore, j’accepte, avec ma modestie naturelle. Mais d’ici peu, le papier sera le support le plus tendance, comme le vinyle et le mariage.

8. Comment expliques-tu que tu sois aussi à l’aise avec les nouvelles technologies ?

Frankly my deah, je ne me pose pas la question. Et puis nouvelles, nouvelles. . . Je trouve plutôt qu’elles ne vont pas assez vite pour moi.

9. Et d’ailleurs, pourquoi l’Internet est-il à ce point un repaire de chats (au point d’inventer la Journée sans chat sur l’Internet, le 9-9-9) ?

Internet reflète le monde, et il y a au monde deux choses inépuisables, et seulement deux : la musique et les chats. Vous ne supporteriez pas tous les jours vos films préférés, vos livres préférés, même pas vos amis préférés. Il faut des pauses. Mais l’émerveillement devant le chat, connu ou inconnu, et devant la musique, connue ou inconnue, ne connaît pas la pause, ni l’usure.

Bien sûr il y a des chats idiots, comme Garfield, et de la mauvaise musique, comme J.-M. Jarre – mais ceux-là s’excluent eux-mêmes de leur catégorie : ce sont des simulacres.

Chris, à qui il arrive de dire des choses sensées, parlait l’autre jour avec la correspondante d’un magazine américain. L’ingénue lui demandait : « Pourquoi cette préférence pour les chats ? Ce pourrait être un autre animal, le chien par exemple. . . » Réponse : « En somme, je fais un film sur une femme et vous me dites : pourquoi pas une vache ? »

10. Pourquoi venir faire un tour au Brésil, c’est la présence de Lula qui te motive ? Toi aussi, tu veux relancer l’amitié franco-brésilienne ?

Moi je n’ai rien à relancer. Ma relation avec le Brésil est ancienne, et multiple. Voilà deux exemples : Grâce à Chris, mon enfance a été bercée par la musique brésilienne. Je connais Chico Buarque par coeur. J’ai quelque part une photo dédicacée de Gilberto Gil. J’ai présenté, dans des ciné-clubs pour chats, « Os Fuzis » et « Antonio Das Mortes ». D’où l’hommage à Glauber ci-dessus. Mes amis brésiliens y ont vu une intention malicieuse : à Cannes, « Antonio Das Mortes » était en compétition avec « les Parapluies de Cherbourg ». Lien évident – sauf que moi, je l’avais complètement oublié.

11. Quelle relation entretiens-tu avec celui qui t’a mis sous la lumière, en photo puis en dessin ? Lequel des deux fait la leçon et indique la voie ? Qui de toi ou de lui est le plus aventureux des deux ?

C’est moi, bien sûr, mais je ne le dis pas trop. Il y a suffisamment de gens qui racontent leur vie à la télé. Disons que pour un humain, il est acceptable. On se complète. J’ai les idées, lui un peu de technique, on est comme Socrate et Platon. Cherchez qui est Socrate.

12. Tu te présentais il y a quelques années comme le « chat et l’assistant de Chris ». Est-ce que tu n’aurais pas un peu inversé les rôles, du fait d’une mégalomanie galopante ?

À votre avis, qui est la star ? le monstre ou le docteur Frankenstein ?

13. Tes pérégrinations dans Second Life ne t’auraient-elles pas un peu tourné la tête ?

On a facilement la tête qui tourne dans SL, mais je crois que c’est fait pour ça. Einstein : « La réalité aussi est une illusion, mais du genre qui dure. » Donc dès que ça dure un peu, on se demande de quel côté du miroir on est. Les gens que j’y rencontre sont un peu cinglés. à tous je dis : lisez « l’Invention de Morel » de Bioy Casares, et vous comprendrez où vous êtes. Certains l’ont fait, et m’ont remercié.

14. Qu’est-ce que tu aimes dans cet univers parallèle ?

Le monde de Bioy : un monde de fantômes, ces gens dont on ne sait rien, dont l’apparence est forcément un mensonge, mais où justement il est si facile de mentir que certaines âmes perverses, j’en suis sûr, éprouvent un malin plaisir à dire la vérité, juste pour ne pas être crues.

Maintenant, j’ai mon île dans SL. J’y donne des rendez-vous à des gens qui viennent de tous les coins du monde. Et c’est un fait qu’on y accomplit quelque chose d’absolument nouveau dans l’histoire de la communication. Ce n’est pas tout à fait la réalité, et pourtant. . . Le téléphone, les e-mails, même une vidéoconférence n’abolissent pas la distance, ils soulignent plutôt notre effort pour la surmonter. Dans SL, elle est abolie. On est là et on n’est pas là dans le même moment, comme mon autre cousin, le chat de Schrödinger. Jamais personne n’avait éprouvé ça.

Further Browsing:

Guillaume Sends a Message

Cats Go Barack

What else do you lack to make it right,
But cats down under the stars tonight?
– Jerry Garcia

Well, quickly on the heels (or paws) of Colin Powell, un certain chat qui s’appelle Guillaume – the infamous ironist and stylish dresser (here sporting the T in OG style) – has weighed in on the upcoming election in the disunited, dysfunctional states of america, where hope springs eternal but empire can’t last forever. His brand spanking new t-shirt is being offered by the Wexner Center for the Arts in their Chris Marker store. Hmm, a t-shirt within a t-shirt – that’s getting pretty metaphysical. Reminds me of some French filmmaker, or an Arnolfini Marriage… Congress is currently debating whether they will allow cats to vote, but don’t hold your breath. If you’ve got two legs, a unicycle or a friend with a passenger seat, get to the polls. Les citoyens EU seront, nous savons et esperons, nos majorettes ce jour-là, pendant que Guillaume sert comme Ministre des Affaires Étrangères.

Details from Wexner: Available Now! 6.1 oz 100% Cotton White Tee Shirts. Featuring Guillaume-en-egypte [sic]. Very limited quantities available.

Guillaume Movie by Chris Marker

This piece is one of two by a certain “Kosinki.” On closer look, Kosinki is the channel (which you can subscribe to) and Guillaume is the user (age: 40; country: France). The other is called LEILA ATTACKS, and it rocks. In both, obviously, Marker’s senses of humor and composition are alive and well.

LEILA ATTACKS is at once a parody of the faux gigantism of blockbuster PR and a morality tale (it’s tempting to say allegory) of a surprising turnabout in power relations. It is not without self-parody either, as one of the Soviet-meets-grunge style opening titles declares Chris Marker “the best-known author of unknown movies.”

It seems Marker’s “farewell to movies” lingers on, ever more whimsical, practically aphoristic. Could the aphorism film be the heir, within the very personal and web-disseminated form of a cinéma mineure, to the essay film?

Second Life II: «Dancing with Guillaume»

Dancing with Guillaume from Chris Marker on Vimeo

Thanks to Chris for sending this funky interlude of Guillaume getting down in Second Life. For another Ouvroir / Second Life-based video, see Ouvroir the Movie or search the category “Ouvroir“. There is also another Second Life movie, a thriller parody of The Third Man (a favorite of Marker’s ) staring Guillaume, produced by Mosmax (Max Moswitzer) and titled The Third Cat. As we see, Marker’s modest “Farewell to Cinema” did not prevent him from making movies in his alternate reality home, where Guillaume is at once guide to Marker’s Ouvroir environment, protagonist in various (mis)adventures that recall film history, and a bit of a Second Life star.

The Ouvroir, a virtual space in Second Life, was made by Marker in collaboration with Viennese architect Max Moswitzer.

For more information on Chris Marker’s contributions to Second Life, see NPIRL [“Not Possible in Real Life”]. The official site for Second Life is www.secondlife.com.

According to NPIRL, Guillaume qualifies as a “furry,” though we’re hoping that doesn’t exclude him from being a whirling dervish. Do you know what “furries” are? If so, you are more in the loop than a blind librarian. Here’s a summary of a sub-culture that is happening, growing and evolving at a pretty lively pace, and expresses itself in a prominent contingent of sentient beings that populate Second Life:

Furry fandom is a fandom devoted to anthropomorphic animal characters. Since the 1980s, the term furries has come to refer to such characters. Fictional work celebrated by furry fandom typically attributes high-level intelligence, human facial expressions and anatomy, speech, bipedalism, clothing, or other attributes to otherwise animal characters. Work in any medium that includes such characters may be considered part of the furry genre, although they are most often seen in comics, cartoons, animated films, allegorical novels, and video games. Members of the furry subculture are often known as furry fans, furries, or simply furs.They commonly interact online and at furry conventions.

Wikipedia, “Furry fandom”

Video courtesy Guillaume-Luddy Relay™

Guillaume-en-EgypTee + Silence

Guillaume T-Shirt Chris Marker

This Guillaume-en-Egypte t-shirt is available from the Wexner Center for the Arts Store, Chris Marker section. Simple, really, and nevertheless a Rosetta Stone of sorts. The-Silent Movie-Cat points quizzically back to the celluloid (the “black leader” of Sans Soleil?). The primordial gesture of Silent Movie, a video installation from 1995, is that of a woman’s index finger covering her lips in the gesture of silence. The brochure from the London installation places this image on the cover.

Guillaume, like Silent Movie, prefers the gesture to the commentary, or perhaps the gesture as commentary. This looping, multiple-monitor piece falls, as it were, in the eye of the storm of creation – a silent interlude, neither film nor not-film, between all the origami-unfolding emblems of word-image call and response and the extended “farewell to cinema” of Marker’s 21st century explorations. Or maybe a rose is just a rose, a Rosetta Stone just a stone, and a t-shirt just a t-shirt…

Silent Movie consisted of a video installation of five monitors, a series of enlarged black-and-white video stills, a series of suggestive intertitles, and computer-designed sketches of movie posters displayed on nearby walls. This catalogue features video stills and intertitles from the installation, an essay “Another Likeness” by media arts curator Bill Horrigan, and an essay “The Rest Is Silent” by artist Chris Marker.

Silent Movie publication @ Wexner

In the Gutenberg era, rather late – we’re talking 18th cerntury – novels employing the old «found manuscript» conceit were at times apt to end “The Rest is Lost…” Classic films seemed to always punctuate their finality by stating simply “The End.” What genre (most paradoxically, a looping one) might end with “The Rest is Silent”?

Silent Memory is dedicated to the memory of Guillaume-en-Egypte.” [Wexner booklet, 3] This interlude installation might then also be a work of mourning, a tribute to a silent partner departed, one who has lived on in a Second Life, with seven more in store.

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